A few Gawad CCP Para sa Sining 2024 awardees —including Lea Salonga, Julie Lluch, and Gino Gonzales —share their thoughts on receiving the prestigious award, as well as what it means to them and their respective creative communities at large.
Recently, the Cultural Center of the Philippines (CCP) recognized the country’s notable artistic talents and supporters through its Gawad CCP Para sa Sining 2024 awards. The conferment ceremony, which took place on September 20, 2024, highlighted the lifetime achievements of these individuals, emphasizing its continuous commitment to fostering creative communities where artists can flourish, as well as providing audiences with access to an enriching arts and culture scene.
Lifestyle Asia had the pleasure of interviewing a few of these awardees, getting their thoughts on what the award means to them, how the CCP has shaped their respective practices, and what message they hope the achievement will send to aspiring artists in their fields.
READ ALSO: Gawad CCP Para sa Sining 2024: Celebrating Philippine Artistic Excellence
Marilyn Gamboa
Marilyn Gamboa has spent much of her life working as a cultural administrator, ensuring that critical institutions and programs in Negros Occidental receive the support they need to continue thriving. In doing so, she’s helped build a strong foundation that will allow more Filipinos to appreciate and protect Negrense culture for years to come.
How do you feel about receiving a Gawad CCP Para sa Sining 2024 award for your work?
I don’t work for awards. I did what I did because I love what I’m doing. However, it is a prestigious award, and it is with deep appreciation that I accept it. But as I said, it’s important to do what you believe in without thinking about outside forces. I’m glad that I’ve been recognized, because I think it will encourage others to do what I do.
How has the CCP been a part of this journey of yours?
I have been with the CCP for so long, I’m “Tita Lyn” to everybody who sees me, because I’ve worked with CCP from day one. I was married in 1961, and I was already working with the CCP in 1964, because we were bringing in ballet.
With the award shedding light on your efforts, what do you hope the future of cultural preservation will look like?
I hope it will be self-propelled. Firstly, the staff in the Negros Museum are fantastic—actually, they can run it without me. The most difficult part is raising funds and seeing that signature, and that’s what I’m hoping will happen.
Julie Lluch
Many know Julie Lluch for her conceptually evocative sculptural works that explore womanhood or femininity through the lens of society and its norms, which have garnered her critical acclaim. She uses a variety of mediums for her work, including terracotta, stone, ceramic, and bronze. Her works have been exhibited both in her home country and in numerous art exhibitions abroad.
How do you feel about receiving a Gawad CCP Para sa Sining 2024 award for your work?
It was a complete surprise. I didn’t expect it, it just came out of the blue. So I’m very shocked, but very happy. It kept me wondering: Do I deserve this? Am I worthy of this? But it’s been good.
How has the CCP been a part of your artistic journey?
I think it’s the only institution that has really influenced the Filipino artist to a very large extent. In fact, I keep saying that I practically grew up under the wings of the CCP; we considered it a second home for young, emerging, struggling artists.
In my time, when we were young, we hung around here a lot. I mean, we really loved it. There was a very welcoming, accommodating atmosphere, and the directors, the curators, were all very helpful and kind. I remember most especially Ray Albano and Bobby Tibet, who were really huge influences.
I had a lot of exhibitions here too, group exhibitions, and even my retrospective of 35 years. This was my second life, my second home.
What kind of message do you hope receiving this award would send to young aspiring artists in your field?
Trust the CCP: from my experience, even from the administrative part of CCP, I can say nothing negative. We were free. I want to tell young artists to be free, because the CCP just allows you that kind of freedom to express what you want to say. And that’s what’s important: not to allow any institution to constrict your freedom.
Lea Salonga
Lea Salonga is an international theater superstar who has cemented herself as one of the greatest in the world over her long career. From starring in local productions of Annie and The King and I to lending her powerful voice to critically-acclaimed musicals like Miss Saigon, Les Misérables, and Disney’s Aladdin and Mulan, the singer-actress has proven herself to be both an unforgettable and inimitable talent. She also holds Tony and Olivier awards for her performance as Kim in Miss Saigon, and stands as a Disney Legend.
How do you feel about receiving a Gawad CCP Para sa Sining 2024 award for your work?
These things don’t get old. It’s wonderful to get recognized for one’s work, especially by an awarding body from your own country. It just feels really wonderful, I mean I don’t know if I have any other words to describe the feeling.
How has the CCP been a part of your artistic journey?
My career began there! My entire career as a theater person began at the CCP. The first three musicals I ever did were at the CCP. When I said goodbye to the Philippines to head off to London, that concert was at the CCP. And then when Miss Saigon was staged in the Philippines, it was at the CCP [referring to the 1999 production]. And there have been numerous performances in between all of the so-called milestone performances. It’s just been so wonderful, how intertwined our own histories have been.
Gino Gonzales
Gino Gonzales has paved the way for costume design and scenography in the Philippines, making a name for himself as one of the country’s pioneering creative minds in these niche yet valuable fields. With his use of non-conventional and everyday industrial and commercial materials, as well as a deep respect for traditional Philippine garments like the terno, Gonzales has created exquisite and imaginative pieces for a variety of productions and projects, both abroad and in the country.
How do you feel about receiving a Gawad CCP Para sa Sining 2024 award for your work?
It was an honor, but at the same time it came with trepidation, because you have to live up to the expectations. Normally, when I get an award, I literally set it aside; it’s never displayed. I accept it, but of course, I don’t want it to get in the way of my work or creativity with an expectation hovering above me. But I’m very thankful for it.
How has the CCP been a part of your artistic journey?
The CCP has been very, very integral to my journey as an artist. Because my first professional work was with the CCP—Tanghalang Huseng Batute, which was the smallest division, experimental theater. It’s basically where most theater people start before they graduate to the main theater.
So back in 1996, it was Nonon Padilla who directed the play Tatlong Parusa sa Isang Sentensya. He asked me to do both sets and costumes for the production, and I think because of the positive reviews and feedback from it, I would say it jump started my career.
[More recently] I’ve been working with the CCP and Bench for Ternocon. I’m no longer its artistic director [Eric Cruz has assumed the position], but we started a new program called “Coslab.” It’s [short for] Costume Laboratory: like Ternocon, but primarily for costume designers. It’s really made to educate aspiring costume designers in terms of technical skills. I’m teaching there and we’re in our third cycle already.
What kind of message do you hope receiving this award would send to young aspiring artists in your field?
When I was young, we didn’t really consider set or costume design as a profession. So it’s only been recently that—of course, also with the efforts of Mr. [Salvador] Bernal [his mentor and a National Artist for Theatre and Design]—that it has been recognized as a profession. So I think winning the award will also encourage young aspiring set or costume designers to see it as a real profession, a real job, rather than a hobby.
Jose “Pete” Lacaba
Jose Lacaba is a writer best known for his outstanding body of works spanning multiple genres and forms, including poetry, essays, scripts, and journalistic pieces.
Beyond that, he is a survivor of the tumultuous Martial Law period in Philippine history, and has always been vocal about the torture he endured (and sadly lost his brother Emmanuel to) during the dictatorship. Much of his written work has explored the harrowing experiences of his generation.
He told Lifestyle Asia: “Getting recognition from the CCP is, of course, flattering.” His wife, Mara, used to work for the CCP as well, the writer recalled. As for what he hopes aspiring writers will glean from him receiving the award, he shared: “I hope it can help them also in their writing. I hope they pick up some ideas from what I have to say.”
Lacaba did indeed have much to say during his incisive acceptance speech, which reminded audiences of the terrors of Martial Law (as well as the anniversary of its signing the very next day, September 21). He also highlighted the many injustices that currently plague the country. When he uttered “Never again,” a considerable portion of the crowd cheered—a testament to the power of his words as he continues to use his platform to bring attention to the nation’s pressing issues.
Gener Caringal
Gener Caringal remains among the foremost choreographers in Philippine history, with his choreographic works that integrate ballet, modern dance, and folk dance. Indeed, the world of Philippine ballet is not complete without him, thanks to his many contributions as one of the founders and former artistic directors of the Philippine Ballet Theatre, as well as Ballet Philippines. His career is a prolific one with numerous original full Filipino ballets under his belt, and years of mentoring some of the country’s finest dancers.
How do you feel about receiving a Gawad CCP Para sa Sining 2024 award for your work?
When I found out I was going to receive the award, I was saying “Wow, why me?” But then I thought about my colleagues who were given the same award also, so I’m very, very happy that the CCP recognizes what I’ve done for the art of dance.
How has the CCP been a part of your artistic journey?
I was with CCP from the very beginning, because I’m one of the original or founding members of Ballet Philippines. We were the first occupants in the CCP. Actually, the first time I went to CCP, there was no one there. I spent so much time at the center.
I was a dancer at the University of the East (UE) when Alice [Reyes] went there and asked me to join that company [Ballet Philippines]. Because, you know, when you entered the CCP then, everything was so cold, everything was so new, it was the atmosphere of the big studio that we didn’t have in UE, so it’s really like wow. That’s a reward already for being a dancer: we were given a very good venue, very good teachers, a very good director and company.
What kind of message do you hope receiving this award would send to young aspiring artists in your field?
I’m now with the UE as the director of cultural affairs, and I’m also the director of the dance troupe where I started out during that time. I always tell the dancers my experience, and it serves as an inspiration. I tell them, “You can do it also if you put your mind into it and focus on what you want to do.” And you know, a lot of my dancers became principal dancers of Ballet Philippines.
Joey Ayala
Joey Ayala popularized the use of indigenous musical instruments in songs with more modern, pop sensibilities, helping shape the face of Philippine music as a lauded composer, songwriter, and singer. His love for the environment has translated into many songs that center on the beauty of the natural world and the importance of protecting it. Beyond that, he was also a former chairman of the music committee of the National Commission for Culture and the Arts, and continues to be an inspiration to many in the local music industry.
How do you feel about receiving a Gawad CCP Para sa Sining 2024 award for your work?
I felt surprised. I never thought I’d be awarded by the CCP with an honor that high. But it was a very, extremely pleasant surprise—that’s an understatement. [laughs] I thought, “Wow, I did something good!”
How has the CCP been a part of your artistic journey?
The CCP jump started my musicianship. It started my first three or four tours around the Philippines—that was all the CCP, and this was a time when not many people knew me.
What kind of message do you hope receiving this award would send to young aspiring artists in your field?
It’s hard to give advice. For me, I followed my instincts, I followed my passion. That’s why I can’t give any advice, because what happened to me was so organic. I just followed what I was feeling, and my intuitive analysis. In 1986, I could sense there was a vacuum, and I was in its shape. So it was a feeling of, not of what was there, but what was not there. And I got sucked into it, and that was the sensation. It was not all deliberate, I just followed my nature. I guess I was somehow in harmony with everything else, so good things happened.
But “following your instincts” is dangerous advice to give, because this is a one in a million. On one hand, if I hesitated, then nothing would have happened. I could say “burn your bridges and just follow your passion,” but I think more people fail doing that. I guess it depends on your sensitivities and capabilities.
If you think you really have something to give, you give it. Motivation has a lot to do with it. For me, I’m motivated to give voice to something. It wasn’t really to be a star or earn money or be famous; my motivation was something very internal. I have something important to say, and that’s what drives me. If that’s the sort of motivation you have, then you should follow it. But if your motivation is something more external, like money or fame, that might be dangerous; you need more discernment for that.
At The Heart Of It All
If there’s one trait that many of the awardees share, it’s a kind of humility that showcases the true strength and authenticity of their artistry. While they appreciate their accolades, it’s clear that even if they had not received them, they would continue creating or doing what they love best—which, in itself, is its own reward.
Photos by Kim Santos of KLIQ, Inc.
